AbstractThis thesis will provide a narrative for practical research carried out between 2017 and2021, undertaken in order to further explore a creative practice for music with glass and electronics.
The work within the portfolio and contextual study sets out to answer the research questions, which are: 1) What approaches can be taken towards a contemporary artistic practice for glass and electronics? 2) How does the timbre of the material shape the composition of the work? 3) What part does resonance and sustained tone play in relation to the form of the composition? and 4) How does this work deal with temporality?
In Chapter 1, I will examine compositional notions of tone, resonance, and time, contextualising these through reference to the works of composers Ellen Fullman, Timothy Didymus and La Monte Young and drawing on Jonathan Kramer’s notion of vertical time to explore how my long form compositional works are situated within contemporary practice for sound installation.
In Chapter 2, I will provide a commentary on the creative works which will show how I have adapted and refined my creative methodologies to answer these questions, producing a portfolio of four sculptural sound installations and one audio visual installation. This written commentary will outline a systematic practical and theoretical model for a contemporary artistic practice.
The research will demonstrate the evolution of a nuanced and sophisticated musical language for long form composition situated within sound installation for glass and electronics.
|Date of Award
|4 Oct 2023
|Monty Adkins (Main Supervisor)